Mooz0r

If one months work for a couple of minutes is auto-pilot, then John Williams' auto-pilot mode must suck!

Never heard of these either. Link me! lol

I love it. I had it stuck in my head all yesterday! Lol.. As always, it serves its purpose as a very memorable, catchy theme. Also, it's so right for football! Especially the version that King Mark sent me. It's so relentless, and exciting, bombastic and brassy. It suits the genre very well. Good job, Mr. Williams! ^^

Thanks. The horns are really bugging me. The notes are attacked so lightly that one doesn't get the correct sense of rhythm and urgency that I was after on first listen. Anyway, I use a variety of programs, and sample libraries. The samples you're hearing are from EWQL Symphonic Orchestra (Timpani, Snare Drum, suspended cymbal, Flutes, Trombones, Basoon, Bass Clarinet, Tuba, sus strings).. and also you're hearing samples from Vienna Symphonic Library (the horns are from the Epic Horns set [i've used the performance legato sample here], the performance legato trumpets from Opus 1, and the tulubar bells).. Oh, the violin runs are from VSL Opus 1 as well. I use Cubase SX 3 for sequencing (and mastering the mix), Kontakt 2 as my sampling engine, and Sibelius 4 for notation.

Wow! Didn't know Williams wrote that I had a little fun with this amazing theme. Here's my (Williams-esque) arrangement: http://blog.jackchapple.com/st00f/Williams...Fan%20Theme.mp3 I couldn't really get the horns to attack the notes as I liked.

Regarding Shore, all I can say is that whenever one mentions film scores to 90% of people, they seem to either mention Pirates of the Carribean (MV), or LOTR... I think the real reason behind the Zimmer and Shore "hating" comes from the people who understand and appreciate a piece of music from a deeper musical point of view. I don't mean this to sound patronising towards people who do like Shore or Zimmer, this is just my opinion - hardily fact. MV scores and Shore scores (in my opinion) are simple, in-your-face, and very obvious. When a film is treated with such a score, it naturally gains attention from people who wouldn't normally notice scores in film. In my opinion, the LOTR scores are mostly very simple, boring, dull, and in-your-face. Quite frankly, in some of the places in the LOTR scores, I find the orchestration to be muddy and un-listenable. The things I like about Williams (amongst others) are the genius writing - the ostinati and counter-melodies that are so complex and intricate that you wonder how any man on earth could write such a thing. The kind of things that exist in every single Williams cue that most of us just seem to not hear. Most people seem to just hear a melody and a rhythm, and that's it. I hate to sound patronising again, but some people just seem blind as to what makes a piece of music brilliant. Of course, the other side of the argument is that a film score should be obvious, it should describe an emotion , and that's it. Although, I believe that when you have such colour, perfect sense of harmony and great melodic writing as all Williams scores have, the audience somehow automatically feels comfortable and entertained by the exciting colourfulness of the music. I somehow always seem to fail to describe my point well enough in writing. Perhaps I should stop trying to describe music in writing? Yes, that's what I'll do! I guess this is a little off-topic as well. Oh well!

Well, it doesn't "suck," per se, as it would have been pretty cool... fifteen years ago. But I don't respect self-plagiarization. Go and write music for over 100 movies, as well as hundreds of other projects, and let's see how much you "self-plagiarize" by the time you get where Williams is. Every composer and artist on the face of this earth "self-plagiarizes". The term sucks, quite frankly. Actually, I shouldn't use the term "self-plagiarize," as it implies at least an attempt at a new composition, something the NFL football theme is not. I realise you're trying to be funny, but really you're just making a fool of yourself. We don't even know how much time Williams had to write this, or if he was specifically told it had to sound like "this". Heck, he could've had a matter of days to write the theme. The main melodic part of the theme itself is entirely new. Just beause the orchestration and various ostinati sound like things Williams has done before doesn't mean it's self-plagiarized.

He just seems wooden, uncomfortable, and camp to me. I cringe at the way he seems to be delivering all of bond's dialogue.

Well, it doesn't "suck," per se, as it would have been pretty cool... fifteen years ago. But I don't respect self-plagiarization. Go and write music for over 100 movies, as well as hundreds of other projects, and let's see how much you "self-plagiarize" by the time you get where Williams is. Every composer and artist on the face of this earth "self-plagiarizes". The term sucks, quite frankly.

AOL's slow servers can kiss my herpes.

Jamiroquai - Deeper Underground I'm Going Deeper Underground.....

ZOMG I must have it! I'll pay money if I must, goddamnit!!!

Wow! ..... It's so... Williams!

Zimmer working with Spielberg is indeed a depressing thought. That said, I think it would be interesting to see how well any composer works with Spielberg.

Total Recall did it for me. Knowing the film already - I just stand in awe at his amazing ability to capture the most obscure of feelings perfectly to fit the scene. I do sometimes wonder if Goldsmith was better at capturing the sound for a scene/movie than Williams is. Like for example - The Treatment from Total Recall. With the film, this cue is just such an amazing example of how film music should serve a film. Right from the beginning of the scene, Goldsmith adds that feeling of "What the hell's going on!?" that I think just improved that scene so dramatically. And just listen to that orchestration, such perfect instrumentation. The man's a genius. Get the Total Recall Deluxe Soundtrack if you can. It's so entertaining from start to finish. You'll probably appreciate it even more if you've seen the film.

The sounds in the Vienna Symphonic Library are fantastic, but do remember that they are all recorded in an acoustically dead environment with absolutely no acoustic modelling. This means that you'll have to do a lot of tweaking (usually) to get the samples sounding natural, as if recorded in a given environment (usually a concert hall). And to be honest, you'll probably never get the samples to sound as good as samples already recorded in a large hall. I think East West is the only other realistic alternative. Generally their samples are good - although I must admit, the quality of some of the samples are poor. However, all the EWQL samples are recorded in a large hall, which means you don't really have to do *much* work to get the orchestra sounding fairly natural. I haven't personally used Garritan. I've heard good and bad things about the library, but I've heard the strings are pretty good. I've also been meaning to test out Advanced Orchestra, which is very affordable. I'd also recommend buying Kontakt 2 as you get a nice set of VSL samples, and Kontakt 2.1 is by far the best sampling engine in my humble opinion.

There's absolutely no melodic similarity at all really... The only similarities are with the orchestration and rhythm. They are both fanfares so of course they're similar in that way.

lmao! What is that conductor doing though!? And it's kinda a puny orchestra

Really nice performance... The cymbal clashes sounded like someone scraping two metallic objects together. lol Shame the choir lowered the octave at the end..

And when the end titles started I was so disgusted I let out a "Turn off this f'ing music!". Neil Ummm.... That's just embarrasing.

Zimmer - without a doubt. Who is he!? *flings out arms* Who is he!? Where did you find him!?!?

Goldsmith had that "thing".. That sophistication, knowledge, craftsmanship, sheer style, and inspiration. The same thing I don't think many composers for film have (that's not to say I don't find other film composers sheer genius).. In fact, particularly in reference to the "sophistication" thing.. I would say Williams and Goldsmith are the only two composers to have ever really had that.

Well all I can say about this score is.. It's brilliant! And, better, Ottman knows how to be faithful to Williams, unlike Mr. Doyle who had the arrogance to almost completely ignore any of Williams original ideas and themes.

I don't understand what all the fuss is about Giacchino.. His orchestrations are weak and very unsatisfying to listen to... The Incredibles was very good, but it still wasn't that great. My vote would go to Edward Shearmur or Don Davis.

Is there a decent recording available of that arrangement ?